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Reading Shortshanks' 'The March of Intellect' (C. 1828)

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Reading Shortshanks' 'The March of Intellect' (C. 1828) | 36 Resisting mechanisation? Reading Shortshanks’ ‘The March of Intellect’ (c. 1828) through the lenses of Daniel and Edward Irving HELEN-FRANCES DESSAIN ABSTRACT: One of the most celebrated March of Intellect prints from the 1820s was created by Robert Seymour: a man-machine strides across the page, sweeping away abuses with its Brougham, and saving the people by the spread of knowledge from its printing press legs. However, such a reading ignores the nuancing of the image by the caption. This article will proffer a detailed reading of the image through the caption via two different lenses: a probable source text from the Old Testament book of Daniel and the preaching of Edward Irving. Through such an exploration, this paper will argue that whilst Seymour’s print is a sharp critique on those who claimed that mechanistic philosophies would solve the abuses of the day, it is complicated by the caption being framed as Irving-esque speech. Whether this print was a critique on mechanistic philosophies or fanatical preaching, Seymour left for his viewers to decide. KEYWORDS: March of Intellect, Seymour, Irving, Mechanisation, Daniel, 1820s. .❖ ❖ ❖ INTRODUCTION ROBERT SEYMOUR, UNDER his pseudonym Shortshanks, created one of the most celebrated and visually arresting March of Intellect prints from the 1820s (Figure 1).1 So arresting is this print that it has graced a number of book covers including Brian Maidment’s Comedy, Caricature and the Social Order and Jim Secord’s Visions of Science.2 A man- 1 A version of this article was presented at the ‘The 1820s: Innovation and Diffusion’ conference held in Glasgow in 2019 and the author would like to thank the participants for their insightful comments and questions. 2 The dating of the print is uncertain. The British Museum have dated the print ‘1828-1830’ <https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=13 36673&partId=1> [Accessed 14 June 2019]. Jim Secord used the British Museum’s copy of the print in his work Visions of Science and dated the print c. 1828. Brian Maidment in his Comedy, Caricature and the Social Order dated it 1829 and used the Lewis Walpole Library copy, which dated the print ‘1829?’ ©2020 CC-BY-NC 4.0 Issue 2: January 2020 www.rrrjournal.com DESSAIN | 37 machine strides across the page, sweeping away legal, medical and religious abuses with its broom, and saving the people by the spread of knowledge from its printing press legs. The limitation of such a reading is that it ignores the caption which provides a significantly more nuanced gloss to the image. Whilst this print has been discussed by scholars, this article will suggest a detailed reading of the image through the caption. This reading will take two different lenses: a possible source text from the Old Testament book of Daniel and, due to the idiosyncratic spelling deployed by Seymour in the caption, the preaching of Edward Irving. Through such an exploration, this article will argue that whilst Seymour’s print is a sharp critique of those who claimed that mechanistic philosophies would solve the abuses of the day, it is complicated by the framing of Irving-esque speech in the caption. Daniel’s vision comprised beast-like empires that would abuse their subjects; in a like manner, the mechanistic philosophies of the 1820s would actually perpetrate further abuses rather than liberating the masses from existing abuses. The caption to Seymour’s image is presented as part of a sermon by Irving, a notorious contemporary preacher. Seymour’s readers would thus have brought their own views of Irving to bear on their reading of the print. Whether this print was a critique of mechanistic philosophies or of an enthusiastic preacher and his followers, Seymour left for his viewers to decide. Despite being so arresting, this print has, perhaps surprisingly, yet to receive a detailed reading of the caption. In his 2008 DPhil on the March of Intellect movement in the 1820s and 1830s, David Magee draws out much of the symbolism within the image but only uses the caption as a description of some of the image’s detail. Therefore, Magee excerpts such words as ‘march’, ‘Giant’, ‘Broom’, ‘even of Gas’ to provide colour to his gloss but does not push his reading further. Magee’s concern is to read this print as comment on reform and improvement rather than lingering over why Seymour included such a long caption in this print compared to other March of Intellect prints he made during this period.3 In his reading of the print in his 2013 Comedy, Caricature and the Social Order, Maidment pushes Magee’s reading further <http://findit.library.yale.edu/catalog/digcoll:975363> [Accessed 14 June 2019]. For prudence, I have chosen the earlier date of 1828. 3 David Magee, ‘Popular periodicals, common readers and the ‘grand march of intellect’ in London, 1819- 34’ (Unpublished DPhil Thesis, University of Oxford, 2008), pp. 51-53. ©2020 CC-BY-NC 4.0 Issue 2: January 2020 www.rrrjournal.com RESISTING MECHANISATION | 38 FIGURE 1: Shortshanks, ‘The March of Intellect’ (London: Thomas McLean, [1828-1830]), British Museum 2003,0531.29. CAPTION: I saw a Vision, a Giant form appeard [sic], its eys [sic] where [sic] burning lights even of Gass [sic], and on its learned head it bore a Crown of many towers, Its [sic] Body was an Engine yea of Steam, its arms where [sic] iorn [sic] and the legs with which it strode like unto presses that men called printers use, from whence fell ever and anon small Books that fed the little people of the Earth, It [sic] rose and in it’s [sic] hand it took a Broom to sweep the rubish [sic] from the face of the land, the Special pleaders & thier [sic] wigs also & the Quack Doctors also and the ghosts & those that whear [sic] Horns & the Crowns of those kings that set themselv’s [sic] above the laws & the Delays in Chancery it utterly destroy’d, [sic] likewise it sweept [sic] from the Clergy every Plurality, Nevertheless the Lawyers & the Parsons & divers others kickt [sic] up a great Dust!!! by using words such as ‘apocalyptic’ and ‘millenarian zeal’ as well as describing the caption as ‘messianic’. However, Maidment does not delve into what such descriptions imply, why Seymour’s use of the apocalyptic could be significant or why Seymour used ©2020 CC-BY-NC 4.0 Issue 2: January 2020 www.rrrjournal.com DESSAIN | 39 such idiosyncratic spelling.4 In his 2014 Visions of Science, James Secord is primarily interested in the human-machine relations and uses this print as introductory material for his book. Similarly to both Magee and Maidment, he uses the caption for describing the image rather than as an integral part of the print.5 Of the March of Intellect prints from the 1820s, this one by Seymour is the only one to have such an extended caption. William Heath produced several March of Intellect prints in 1828 including two where the caption is simply ‘March of Intellect’ and a set of four for Thomas Maclean where the caption narrates a conversation between two figures in the print.6 This print is also unusual for Seymour who also favoured the short caption with speech bubbles for characters within the image.7 With such formats, there is a tendency to play one viewpoint off against another for satirical effect. For this print however, Seymour chose to narrate a mechanical vision using Biblical tropes. Since Biblical tropes are primarily textual, the caption is illustrated and amplified by the image in the print rather than vice versa which then enables Seymour to construct more than one response to the challenges of both mechanism and millennialism.8 Upon reading the caption, there are two immediate questions to answer: the first is whether this is a pastiche of apocalyptic tropes or whether it is referencing a particular Biblical text; the second is the sheer number of seemingly deliberate spelling mistakes. This article will argue first that Seymour was probably referencing Daniel chapter 7, a text frequently quoted, discussed and interpreted within millennial discourses of the period. By alluding to such an apocalyptic text in both caption and 4 Brian Maidment, Comedy, caricature and the social order, 1820-1850 (Manchester: Manchester University Press, 2013), pp. 186-188. 5 James A. Secord, Visions of Science: Books and Readers at the dawn of the Victorian age (Oxford: Oxford University Press, 2014), pp. 21-22. 6 William Heath, ‘The March of Intellect’ (London: George Humphrey, 1828) British Museum 2002,0519.1, William Heath, ‘The March of Intellect’ (London: Thomas Maclean, 1828) British Museum 1948,0217.34, William Heath, ‘The March of Intellect’ (London: Thomas Maclean, 1828) British Museum 1895,0617.456. 7 For example, see Robert Seymour, ‘An untoward event, or a Tory triumph’ (London: Thomas Maclean, 1828) British Museum 1868,0808.8856, Robert Seymour, ‘Mrs Greece and her rough lovers’ (London: Thomas Maclean, 1828) British Museum 1935,0522.4.156 and Robert Seymour, ‘The political bellman’ triumph’ (London: E King, 1828) British Museum 1868,0808.8845. 8 Another Seymour print with an extended caption is ‘Shaving by Steam’ which operates as an explanation of the machine rather than to construct multiple viewpoints. See Shortshanks [Robert Seymour], ‘Shaving by Steam’ ([London]: E. King, [1828?]), Lewis Walpole Library 828.00.00.12+. ©2020 CC-BY-NC 4.0 Issue 2: January 2020 www.rrrjournal.com RESISTING MECHANISATION | 40 image, Seymour portrayed a metaphorical vision of a seismic change on the cusp of occurring. Second, this article will show that Seymour deliberately rendered the Scottish burr of Edward Irving into print through his altered spelling.
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